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Pitching a film or video concept is at best a delicate and at worst a dreaded process. You have to convince a whole group of directors, investors, actors, etc. that your story is worth their time, money, and effort. There's a lot of preparation that goes into pitching a concept - after all, most writers aren't salesmen. So here's a list of the

7 deadly sins

of concept pitching provided by INC. Magazine (and learnt by us at CLAi the hard way...).

1. You Didn't Build Suspense - If you give away your concept in the first 30 seconds, what's left to listen to? Keep it interesting by slowly letting out your concept. Build suspense throughout your pitch and have a strong ending that clarifies your main points.

2. You're Too Available - By giving the impression that you're widely available, you give the impression that you're unimportant. If you set up a time constraint in the beginning of your concept pitch (i.e. state that you'd really like to explain your concept and then have a brief chat because you must be out by 2 pm), you will make more of an impression than someone who sticks around until the end of the day. You don't want to be perceived as someone who is too available and wastes time.

3. You Scare People - Stick to the emotional value of a concept pitch, don't bog down your listeners with dry facts. Also stay away from abstract statements, these tend to lower your credibility; INC Magazine says "if your pitch is abstract and lacks visual cues, it could be interpreted as a threat." Remain positive and warm; if people are receptive to you they are more likely to be receptive to your concept.

4. You BS the Expert - Don't tell little white lies during a concept pitch, especially ones that you could get caught in right then and there. For example, if a potential investor asks how much your projected costs are, don't omit expenses that you think he might not find out about. This behavior is likely to get you called out in front of everyone and greatly lowers your credibility.

5. You're Too Nice - Oftentimes when pitching a concept, it's tempting to be too nice. While remaining friendly is a must, you want to maintain the upper hand. Maintain control of the pitch by refusing to offer up too much information. People want the information you hold without having to pay for it. Don't offer up your expertise without making sure that they uphold their end of the bargain and embrace your concept.

6. You Quote Dead People - It's tempting to rely on the wise words of past leaders, artists, or personal heroes. However resist this temptation, as it makes you appear juvenile and desperate for time filler. Search within for the inspirational quotes, don't turn to others.

7. You're Boring - Your concept is interesting and innovative, don't make it seem boring by representing it in a boring way. Be the idea and story that everyone wants to hear about. If you come in speaking about boring or unrelated details, you're story gets diminished to the background. Don't get distracted from your concept.

We would like to add #8 to INC's list.

8. Always Be Prepared - You never know when the guy falling off his bar stool might just be THE investor. Have your 30 second, 3 minute, and complete pitch ready, and include business cards and a website. But please, please, please don't sit next to any of us while you try them all out!

May 17, 2011 - "9 RED Epic Questions Answered"

Ted Schilowitz

, one of RED's big guns, answers 9 RED Epic Questions that he gets asked day in and day out, in a video interview.

1. How much does the smallest shooting configuration weigh?

After pulling out a scale, Ted weighs the RED Epic in front of the viewer. The camera weighs 4 kilos which is equivalent to about 9 pounds. The Epic body is about 5 pounds. Ted explains the RED Epic shoots "incredible images…that are even beyond the highest resolution digital cinema camera on the market." For something so small, it contains tons of power. Ted points out that the camera, in comparison to the RED One, is "shrinking but more user-friendly."

2. How do you take stills and motion at the same time?

Amazingly, the transition from motion to still-mode is just a push of a button. The Epic is very flexible, you can hit a preset button and go into still mode as your shooting motion, and switch back just as easy. Just think of the opportunities this presents - it's a great tool for sports photographers. --Although normally someone using the RED Epic would be shooting motion because you have the option to extract the 14 megapixel stills after.

3. What RED accessories from RED One still work with RED Epic?

Almost all the tools from RED One are applicable to the RED Epic. According to Ted, "you can still put all your bottom plates on, the normal rail system; [you can still use the] 7 inch Pro LCD but it won't be a touch screen like [the] RED Epic Pro LCD; all cables for EVF are the same…you can mount normal batteries; you can use your CF cards, RED drives and RED Ram." So sounds like many of the RED One accessories are still relevant to the RED Epic.

4. Does

High Dynamic Range Mode

(HDR) work in camera?

Ted responds "HDR mode, high dynamic range mode, range(s) from a little over 13 stops (with RED One M-X) to 18 stops. Now we're actually beating film, in terms of its overall usable latitude. We're shooting two conjoined frames that are linked together, there's one normal frame and one very fast exposure frame that protects all the highlight regions." In addition, you can choose to use as much or as little of this HDR effect as you want during post-production. This way you can expand your creative license and do not have to alter your normal shooting style to include HDR.

5. Looks like you've redesigned everything for the RED Epic body?

Everything about the camera has been redesigned. The RED One was a 4k camera and the RED Epic is a 5k camera with over 60% more visual data than its predecessor. It also contains a very advanced cooling engine, where cold air comes in through the bottom and vents out through the top. While the camera is running, the fan is working hard to cool down such a small but powerful device. However it is completely quiet when you shoot. There is also an internal and external cavity system that protects the inside. This enables you to shoot in wet and rough conditions without any danger to the RED Epic.

6. Can you have 2 onboard LCDs at the same time?

"You have 3 independent monitoring paths going on just on the brain system and you can add modules that give you more. On the camera alone there's the onboard touch screen and the HD-SDI and the HDMI output so you can run three independent monitoring paths" Ted clarifies.

7. What are the approx megapixels that this shoots at?

14 megapixels, a little over 5000 lines of 4 zone resolution.

8. When the RED One came out, it started at 4k and then a 4.5k mode emerged. Is there a 5.5k mode for the RED Epic?

"Never say never" Ted laughs. But he admits that there are some levels of restriction on the pixel count of the RED Epic as of right now. Today the RED Epic is a 5k device. It is a highly advanced piece of technology and on the cutting edge, even though a 5.5k mode does not yet exist. Needless to say, the RED Epic puts any HD camera to shame.

9. Will REDRocket support the RED Epic?

"The RED rocket is the back half of the camera that is design to handle everything in post, and in real-time. It makes the RED the easiest and simplest camera to work with in post-production. You don't want to work without one. REDRocket will work with Epic files."

--CLAi eagerly anticipates our own RED Epic showing up, hopefully by the end of the summer!--

May 11, 2011 - "The Hobbit shot with the RED"

Film lovers and

J.R.R. Tolkien

fans rejoice;

The Hobbit

is currently being shot with thirty of the new, advanced, hand-machined

RED Epic-M

cameras. Shot entirely in 3D, The Hobbit will take us on the adventure of a lifetime all in 5K resolution and 48 frames per second, with up to 300 frames per second for slow motion filming - pushing the new limits of RED technology.

Filming is just starting in New Zealand and the picture quality of the RED camera will enhance all the visual aspects of this fantastical tale by providing a level of never before seen detail.

Peter Jackson

, the director of the Lord of the Rings series and now The Hobbit, says he's really enjoyed working with the RED Epic-M and it has made translating the literary into reality possible. Jackson notes "I'm not a scientist or mathematician, but the image RED produces has a much more filmic feel than most of the other digital formats. I find the picture quality appealing and attractive, and with the Epic, Jim and his team have gone even further. It is a fantastic tool, the Epic not only has cutting edge technology, incredible resolution and visual quality, but it is also a very practical tool for film makers. Many competing digital systems require the cameras to be tethered to large cumbersome VTR machines. The Epic gives us back the ability to be totally cable free, even when working in stereo."

--Such innovative technology does come at a lofty price - $58,000 for each body alone - but we think audiences will agree that the end result justifies the cost.--

So what does the making of The Hobbit mean for the future of RED Epic-M cameras? Seeing as it is one of the first productions to be shot with the RED Epic-M, we're looking forward to seeing more directors and film-makers mirroring Jackson's endeavor with this new technology. (We've heard that James Cameron has just placed an order for 50 RED Epic-M stereo rigs) Almost any movie worth seeing nowadays is shot in

3D

as well as 2D, and the manageable size and weight of the RED Epic-M makes mounting 2 cameras on 3D rigs easy. As 3D motion pictures continue to gain new ground, the RED camera will be at the forefront of this revolution…

Perhaps looking back The Hobbit will be a milestone in the history of HD cinema. For further reading, see the RED user forum.

March 3rd, 2011 - "A RED Pirouette"

Our most recent shoot, which is more thoroughly documented in our blog over at CLAi.tv, proved to be both challenging and reassuring - obtaining a very complete coverage of Swan Lake performed by Ballet San Jose. There are several things CLAi has strived towards over the years, some of which have worked and others of which have not. Fortunately, this past job managed to overwhelmingly reinforce our practices and tendencies.

The most meaningful bi-product of last week's shoot is the more clearly articulated knowledge that our RED Alliance can work quickly and capably with very short notice. Through the network we established over a year ago we were able to put together a team of able and willing crew members and an array of workable equipment (check it out at The-RED-Alliance.com). Five RED M-X cameras were required and within three days we got all five along with shooters, lenses, legs, and all the additional goodies necessary. The process proved to be refreshingly efficient and hassle-free.

The thing that most hampered our process came from the sheer amount of footage recorded each of the four nights. It turned out to be close to three hours on each camera, and with five cameras we were coming away with fifteen hours of footage every night. Our DIT kit is well put together, but no kit can handle that much data in any kind of expedient fashion. Recording on 320gb or 640gb RED Raid hard drives succeeded in allowing sufficient drive space, but copying and backing up seven or eight near-full drives each night takes a massive amount of time. We had four Mac towers running each night and into the days to get the job done. So, it goes without saying that we're excited for RED's new Solid State Drives and quicker and more powerful ports.

Other than the data overload, there were no real issues. We have the ability to amass a team of willingly dedicated pros, to do it quickly and effectively, and to pull off a truly great program at the end of four nights. It broadens that which is possible for RED owners and that which is possible for those who know RED owners, and we feel lucky to count ourselves in that company... in this case we have to thank our crew and equipment suppliers: Chris Layhe and David Ives at CLAi, Stephen Lovett at Uroboros Films, Caroline Harrison at The Hive Studios, Jason Beckwith, Art Adams, Arthur Rosato, with additional cameras from Purebred Productions and Pedersen Media Group.

February 16, 2011 - "What We Did Wrong: Part 2"

Welcome to part two of our two part advice column! We realize you've been hotly anticipating numbers 6 through 1, so here they are without any further adieu.

6) Become an expert in some area of something or even several areas. Find a niche and master it. Then, you can be the guy who knows iPhones or terabyte drives like the back of his hand, and you'll become indispensable.

5) Offer to help everyone. Make yourself available and keep busy. Also, don't be offended if people refuse your help; just keep asking because eventually they will need you. If you aren't busy and nobody needs help, learn to look busy. Clients don't like paying wages to idle hands.

4) Go to every industry-related meeting and network while you're there. It is your key to moving up. Let your name be connected to your face and pass out business cards like they're raffle tickets (did we mention you need professional business cards? Don't worry, they're cheap!).

3) Along the way, mistakes are inevitable...this we know. However, a key to making fewer mistakes is to not only learn from your own, but to learn from the mistakes of others also. An air of awareness and one of careful observation will serve you well on any set. Soak in what others are doing, especially when they ought not be doing it.

2) In addendum to the above tidbit, folks are more forgiving of mistakes when they like the person who is making them. In this sense, your likeability may occasionally trump your actual competence. If the people you work with like you, they'll keep giving you chances to develop your technique and you'll learn more for it. If they don't like you, you may not get another shot. Be confident, not arrogant. You want to reflect the best of yourself in others; they will respond in kind.

1) Entering this industry can be daunting. It will be beneficial to know that you are not too young to pursue your goals, however you are too inexperienced to achieve them. Experience is everything in this business since it is one of technology and creativity. The more you do, the better you will be, and everyone who's currently doing it has been doing it for a very long time. It will take time, but it can be a very enriching journey.

0) Good luck out there! We say this deliberately! Learn to seize opportunities and manufacture the best outcomes and your luck will find you!

January 26, 2011 - "What We Did Wrong: Part 1"

So, a new constellation has been added to the signs of the Zodiac. Good ol' Ophiuchus has joined the horoscopic ranks and offset everyone's birth sign. In the light of cosmic rebirth and a new year, we figured it to be a fitting time to address those new to the industry and provide them with some early advice. The following is the first of a two part list our company has compiled inspired by an article written by D.P. Art Adams (which you can find at provideocoalition.com).

12) Never regale your fellow crew members with stories about your student remake of Star Trek II: The Wrath of Khan. They won't care how faithful it was to the original, trust us.

11) Don't be late. In fact, be the first one on set and the last one to leave. Reliability is key. At the same time, do not boast about arriving before everyone else, it does not need to be pronounced. Just be there, and if you really want to score points bring donuts.

10) Don't expect anyone to buy you a drink at the end of the day. Not only because we're a frugal bunch, but because there's an important distinction between feeling like you put in a good day's work and feeling entitled to a reward. Stay humble.

9) Being liked and liking others is important. This is an industry of bridges constantly being built. You don't know who your boss will be tomorrow, people leap ahead and people fall behind. As a rule, adopt the golden one and do unto others as you'd have them do unto you. Cultivating environments of mutual respect not only helps to ensure future employment, but helps to create healthy end products...which ensure future employment.

8) This is a profession of intense collaboration and extensive interaction with peers. The sheer volume of both guarantees you'll be offended from time to time and slighted occasionally. It is important not to take any of it personally. Think your way through your frustration and rationalize it. There will always be good and bad days, so when today is bad perhaps tomorrow will be good.

7) Never stop researching. You'll always be learning on set, but it is important to carry that torch into your off-hours. The industry is always evolving and constantly changing, and as far as keeping working goes, it's necessary to stay informed.

More advice to come!

January 11, 2011 - "Free is a four letter word, like CLAi"

CLAi started using the RED camera system some two and a half years ago for just one reason - the quality of the images that it produced were simply stunning, totally blowing away the results we were getting from any of our other systems, and almost on a par with the images that we achieved shooting on 35mm film. Of course, the reality of adopting this radical technology was as much of a headache as switching from Panasonic DVCPro50 to Sony HDCam half a decade earlier… the sheer size of the image files, and the complexity of getting to editable formats, ripped all of our existing computer systems to shreds. The cost of going RED is significantly higher than it first appears!

As a full service production company CLAi had the added challenge of not only having to work out how to shoot effectively with the beast, but of changing how we build schedules and budgets in pre-production, finding or training key crew members, working out what on earth would happen under different shooting conditions, and evolving ways of actually transcoding and color correcting masses of gigabytes of footage in a workflow through post-production… while all the time developing bigger and faster systems to handle it all. Sometimes it seemed impossible, but we just couldn't abandon those fabulous pictures!

Of course, RED is heavily driven by an amazing base of users - which is great news because there is very little by way of hard information available when you hit a roadblock on the learning curve. We try to help out this community by making some of our own footage available through our website under the "Free RED Clips" banner for other users (and curious potential users) to download and try out for themselves. Usually, we have three R3D files available for download, along with matching 4k ProRes files, which provide a way for our clients and supporters to see how everything works and to test out their own systems.

Now we are making it even easier to get hold of the goodies (which are still free). It is as easy as "friending" us on Facebook by clicking the link on the "Free RED Clips" page, and checking out our "Info" section where you will find the download links for everything…

January 11, 2011 - "Welcome To Our Blogging World"

Hi, my name is Chris Layhe, and I'm the CL part of CLAi - an idea that started back in London, England when I set up the company to make film and video programs way back in 1982... after finally escaping three universities and two employers to get a chance to go it alone. The 30 years of CLAi have been a thrilling adventure ride and education that never ceases for myself and those I have been lucky enough to have around me. The last five years here in San Francisco have been some of the most rewarding, with the challenges of new projects, new skills and new technologies to meet, combined with ways of working which would have seemed unimaginable back then.

We hope you are enjoying your visit to this reinvention of CLAi's production web site, and finding all the information that you require (and please do drop me a note at chris [at] REDfilm [dot] us if there is anything that we should add!). I decided (along with associates in crime) to add a blog page to the design as a way of bringing a few opinions, an idea or two, and a snippet of information that we think might just be useful to our visitors… and decided to call it "Leftovers" because we thought it would be a good opportunity to post all of those little nuggets that we always say we should tell people but never quite have the space or the forum to get out there.

I'd like to hit with you with the first Leftover piece to get the ball rolling, and hopefully we'll keep it rolling with another couple every now and then… one little idea at a time.

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